The traditional critic has been dealing with differences between Terence's dramaturgy and Plautus' dramaturgy for a long time. This article is intended to scan these canonic divergences from the 'psychophysical and cognitive theatricalities' categorization. Thus, we would like to consider Terencian dramatic text in rhetorical terms, from which it could be formulated as a discursive mechanism aimed at convincing and persuading (the construction of an audience capable of carrying out a predominant cognitive activity), whereas Plauto's dramatic text is presented as appealing to arouse the audience's feelings as it focuses on playful aspects more associated to the primary perception of the theatrical event.